\u00a0<\/h3>\n\nThe Speakers<\/h3>\n\n\t![\"\"](\"https:\/\/villa-albertine.org\/wp-content\/uploads\/2023\/08\/Charlotte20Vingon_portrait_color20crop_0.jpg\")
\n\t\t\t\n\t\t\tCharlotte Vignon \u00a9George Koelle<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n
Charlotte Vignon, Director of the S\u00e8vres National Museum of Ceramic<\/strong><\/em><\/u><\/p>\n\nSince February 2020, Charlotte Vignon<\/strong> is Director of the French National Museum of Ceramic located at S\u00e8vres, just outside Paris (Mus\u00e9e national de c\u00e9ramique de S\u00e8vres). Previously, she was Curator of Decorative Arts at The Frick Collection in New York for more than 10 years. Beforehand, she has held three highly regarded fellowships at American museums: The Metropolitan Museum of Art, The Cleveland Museum of Art, and The Frick Collection, where she was an Andrew W. Mellon Curatorial Fellow. Vignon organized several exhibitions at The Frick Collection: Exuberant Grotesques: Renaissance Maiolica from the Fontana Workshop<\/em> (2009), Turkish Taste at the Court of Marie-Antoinette<\/em> (2011), White Gold: Highlights from the Arnhold Collection of Meissen Porcelain <\/em>(2011), Gold, Jasper, and Carnelian: Johann Christian Neuber at the Saxon Court<\/em> (2012), Precision and Splendor: Clocks and Watches at The Frick Collection <\/em>(2013), Pierre Gouthi\u00e8re: Virtuoso Gilder at the French Court <\/em>(2016), Fired by Passion: Masterpieces of Du Paquier Porcelains from the Sullivan Collection<\/em> (2017), Masterpieces of French Faience: Selections from the Sidney R. Knafel Collection <\/em>(2018), and Elective Affinities: Edmund de Waal at The Frick Collection <\/em>(2019). In addition to writing the catalogues for most of these exhibitions as well as numerous articles and essays on European decorative arts, including 16th- to 19th-century ceramics, tapestries, furniture, and architecture, as well as the history of the art market and collecting in the United States, Vignon is also the author of Duveen Brothers and the Market for Decorative Arts, <\/em>1880<\/em>\u2212<\/em>1940<\/em> as well as Gouthi\u00e8re\u2019s Candelabras<\/em>, with Edmund de Waal, both published in 2019.<\/p>\n\n\t![\"\"](\"https:\/\/villa-albertine.org\/wp-content\/uploads\/2023\/08\/Courtney20Martin_Mara20Lavitt20crop_0.jpg\")
\n\t\t\t\n\t\t\tCourtney J. Martin (\u00a9 Mara Lavitt)<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n
Courtney J. Martin, Director of the Yale Center for British Art<\/strong><\/em><\/u><\/p>\n\nCourtney J. Martin<\/strong> is the Paul Mellon director of the Yale Center for British Art. Previously, she was the deputy director and chief curator at the Dia Art Foundation, taught at Brown University and the University of California, Berkeley and worked at the Ford Foundation. In 2012, Martin curated Drop, Roll, Slide, Drip… Frank Bowling\u2019s Poured Paintings 1973\u20131978<\/em> at Tate Britain. At Dia she curated an exhibition of the painter Robert Ryman and oversaw exhibitions of works by Dan Flavin, Sam Gilliam, Blinky Palermo, Dorothea Rockburne, Keith Sonnier, and Andy Warhol. She co-edited Lawrence Alloway: Critic and Curator<\/em> (Getty Publications, 2015, winner of the 2016 Historians of British Art Book Award) and edited Four Generations: The Joyner Giuffrida Collection of Abstract Art<\/em> (Gregory R. Miller & Co., 2016). In 2015, she received an Andy Warhol Foundation Arts Writers Grant. She received a doctorate from Yale University. She sits on the boards of the Chinati Foundation, the Center for Curatorial Leadership, Hauser & Wirth Institute and the Henry Moore Foundation.<\/p>\n\n\t![\"\"](\"https:\/\/villa-albertine.org\/wp-content\/uploads\/2023\/08\/c660abecd422b45bb4e869b4b56ab5e2.jpg\")
\n\t\t\t\n\t\t\tElizabeth W. Easton \/ Center for Curatorial Leadership<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n
Elizabeth W. Easton, Director and Co-Founder of the Center for Curatorial Leadership<\/strong><\/u><\/em><\/p>\n\nElizabeth Easton<\/strong>\u00a0is the Director of the Center for Curatorial Leadership (CCL), a non-profit organization she co-founded with Agnes Gund in 2007 to train museum curators in the fundamentals of management and leadership. Now in its sixteenth year and with almost 400 alumni around the world, CCL continues to provide curators with the tools necessary to assume and succeed in leadership positions.
\nShe previously served as the first elected president of the Association for Art Museum Curators from 2003-2006, and as chair of the Department of European Paintings and Sculpture at the Brooklyn Museum from 1999-2007. Easton earned her Ph.D. at Yale University, writing her dissertation on Edouard Vuillard’s interiors of the 1890s.
\nShe is the recipient of the Wilbur Cross Medal\u2014the highest honor accorded to alumni of Yale University\u2019s Graduate School\u2014and in 2008 was appointed Chevalier de l\u2019Ordre des Arts et Lettres by the French Government. She is a trustee of MASS MoCA and is also on the Visiting Committee of the Department of Paintings Conservation at The Metropolitan Museum of Art.\u00a0<\/p>About the\u00a0Villa Albertine Museum Series<\/em><\/h3>\n\n
\n\t\t\tCharlotte Vignon \u00a9George Koelle<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n
Charlotte Vignon, Director of the S\u00e8vres National Museum of Ceramic<\/strong><\/em><\/u><\/p>\n\n Since February 2020, Charlotte Vignon<\/strong> is Director of the French National Museum of Ceramic located at S\u00e8vres, just outside Paris (Mus\u00e9e national de c\u00e9ramique de S\u00e8vres). Previously, she was Curator of Decorative Arts at The Frick Collection in New York for more than 10 years. Beforehand, she has held three highly regarded fellowships at American museums: The Metropolitan Museum of Art, The Cleveland Museum of Art, and The Frick Collection, where she was an Andrew W. Mellon Curatorial Fellow. Vignon organized several exhibitions at The Frick Collection: Exuberant Grotesques: Renaissance Maiolica from the Fontana Workshop<\/em> (2009), Turkish Taste at the Court of Marie-Antoinette<\/em> (2011), White Gold: Highlights from the Arnhold Collection of Meissen Porcelain <\/em>(2011), Gold, Jasper, and Carnelian: Johann Christian Neuber at the Saxon Court<\/em> (2012), Precision and Splendor: Clocks and Watches at The Frick Collection <\/em>(2013), Pierre Gouthi\u00e8re: Virtuoso Gilder at the French Court <\/em>(2016), Fired by Passion: Masterpieces of Du Paquier Porcelains from the Sullivan Collection<\/em> (2017), Masterpieces of French Faience: Selections from the Sidney R. Knafel Collection <\/em>(2018), and Elective Affinities: Edmund de Waal at The Frick Collection <\/em>(2019). In addition to writing the catalogues for most of these exhibitions as well as numerous articles and essays on European decorative arts, including 16th- to 19th-century ceramics, tapestries, furniture, and architecture, as well as the history of the art market and collecting in the United States, Vignon is also the author of Duveen Brothers and the Market for Decorative Arts, <\/em>1880<\/em>\u2212<\/em>1940<\/em> as well as Gouthi\u00e8re\u2019s Candelabras<\/em>, with Edmund de Waal, both published in 2019.<\/p>\n Courtney J. Martin (\u00a9 Mara Lavitt)<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n Courtney J. Martin, Director of the Yale Center for British Art<\/strong><\/em><\/u><\/p>\n\n Courtney J. Martin<\/strong> is the Paul Mellon director of the Yale Center for British Art. Previously, she was the deputy director and chief curator at the Dia Art Foundation, taught at Brown University and the University of California, Berkeley and worked at the Ford Foundation. In 2012, Martin curated Drop, Roll, Slide, Drip… Frank Bowling\u2019s Poured Paintings 1973\u20131978<\/em> at Tate Britain. At Dia she curated an exhibition of the painter Robert Ryman and oversaw exhibitions of works by Dan Flavin, Sam Gilliam, Blinky Palermo, Dorothea Rockburne, Keith Sonnier, and Andy Warhol. She co-edited Lawrence Alloway: Critic and Curator<\/em> (Getty Publications, 2015, winner of the 2016 Historians of British Art Book Award) and edited Four Generations: The Joyner Giuffrida Collection of Abstract Art<\/em> (Gregory R. Miller & Co., 2016). In 2015, she received an Andy Warhol Foundation Arts Writers Grant. She received a doctorate from Yale University. She sits on the boards of the Chinati Foundation, the Center for Curatorial Leadership, Hauser & Wirth Institute and the Henry Moore Foundation.<\/p>\n Elizabeth W. Easton \/ Center for Curatorial Leadership<\/p>\n\t\t<\/figcaption>\n\t<\/figure>\n Elizabeth W. Easton, Director and Co-Founder of the Center for Curatorial Leadership<\/strong><\/u><\/em><\/p>\n\n Elizabeth Easton<\/strong>\u00a0is the Director of the Center for Curatorial Leadership (CCL), a non-profit organization she co-founded with Agnes Gund in 2007 to train museum curators in the fundamentals of management and leadership. Now in its sixteenth year and with almost 400 alumni around the world, CCL continues to provide curators with the tools necessary to assume and succeed in leadership positions.\n\t\t\t\n\t\t\t
\nShe previously served as the first elected president of the Association for Art Museum Curators from 2003-2006, and as chair of the Department of European Paintings and Sculpture at the Brooklyn Museum from 1999-2007. Easton earned her Ph.D. at Yale University, writing her dissertation on Edouard Vuillard’s interiors of the 1890s.
\nShe is the recipient of the Wilbur Cross Medal\u2014the highest honor accorded to alumni of Yale University\u2019s Graduate School\u2014and in 2008 was appointed Chevalier de l\u2019Ordre des Arts et Lettres by the French Government. She is a trustee of MASS MoCA and is also on the Visiting Committee of the Department of Paintings Conservation at The Metropolitan Museum of Art.\u00a0<\/p>About the\u00a0Villa Albertine Museum Series<\/em><\/h3>\n\n